Mixing with Gary

During our week in London we had some sessions with Gary Bromham, first at the Academy of Contemporary Music in Guildford on the June 7th , then at QMUL later in the week. We wanted to experiment with cross-adpative techniques in a traditional mixing session. Using our tools/plugins within a Logic session to work similar to the traditional sidechaining, but with the expanded palette of analysis and modulator mappings enabled by our tools developed in the project. Initially we tried to set this up with Logic as the DAW. It kind of works, but seems utterly unreliable. Logic would not respond to learned controller mappings after we close the session and reopen it. It does receive the MIDI controller signal (and can re-learn) but in all cases refuse to respond to the received automation control. In the end we abandoned Logic altogether and went for our safe always-does-the-job Reaper.

As the test session for our experiments we used Sheryl Crow “Soak up”, using stems for the backing tracks and the vocals.

 2016_6_soakup mix1 pitchreverb

Example 1: Vocal pitch to reverb send and reverb decay time.

 2016_6_soakup mix2 experiment

Example 2: Vocal pitch as above. Adding vocal flux to hi cut frequency for the rest of the band. Rhythmic analysis (transient density) of the backing track controls a peaking EQ sweep on the vocals, creating a sweeping effect somewhat like a phaser. This is all somewhat odd all together, but useful as an controlled experiment in polyphonic crossadaptive modulation. The

* First thing Gary ask is to process one track according to the energy in a specific frequency band in another. For example “if I remove 150Hz on the bass drum, I want it to be added to the bass guitar”.  Now, it is not so easy to analyze what is missing, but easier to analyze what is there. So we thought of another thing to try; Sibliants (e.g. S’es) on the Vocals can be problematic when sent to reverb or delay effects. Since we don’t have a multiband envelope follower (yet), we tried to analyze for spectral flux or crest, then use that control signal to duck the reverb send for the vocals.

* We had some latency problems, relating to pitch tracking of vocals, the modulator signal arriving a bit late to precisely control the reverb size for the vocals. The tracking is ok, but the effect responds *after* the high pitch. This was solved by delaying the vocal *after* it was sent to the analyzer, then also delaying the direct vocal signal and the rest of the mix accordingly.

* Trond idea for later: Use vocal amp to control bitcrush mix on drums (and other programmed tracks)

* Trond idea for later: Use vocal transient density to control delay setting (delay time, … or delay mix)

* Bouncing the mix: Bouncing does not work, as we need the external modulation processing (analyzer and MIDIator) to also be active. Logic seems to disable the “external effects” (like Reaper here running via Jack, like an outboard effect in a traditional setting) when bouncing.

* Something good: Pitch controlled reverb send works quite well musically, and is something one would not be able to do without the crossadaptive modulation techniques. Well, it is actually just adaptive here (vocals controlling vocals, not vocals controlling something else).

* Notable: do not try to fix (old) problems, but try to be creative and find new applications/routings/mappings. For example the initial ideas from Gary was related to common problems in a mixing situation, problems that one can already fix (with de-essers or similar)

* Trond: It is unfamiliar in a post production setting to hear the room size change, as one is used to static effects in the mix.

* It would be convenient if we could modulate the filtering of a control signal depending on analyzed features too. For example changing the rise time for pitch depending on amplitude.

* It would also be convenient to have the filter times as sync’ed values (e.g. 16th) relative to the master tempo

FIX:

– Add multiband rms analysis.

– check roundtrip latency of the analyzer-modulator, so the time it takes from an audio signal is sent until the modulator signal comes back.

– add modulation targets (e.g. rise time). This most probably just works, but we need to open the midi feed back into Reaper.

– add sync to the filter times. Cabbage reads bpm from host, so this should also be relatively straightforward.

 

 

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